Saint Clair – less beatifically known as Emma Topolski – is a London-based singer-songwriter whose influences range from James Blake, The Internet and Frank Ocean to Amy Winehouse and her ”two main musical giants” Stevie Wonder and The Beatles.

Her latest release, ‘I’ll Stay’, is striking in its grandeur, reflective of Emma’s penchant for writing ”big and dark” compositions that crest to near-operatic peaks before plunging to rolling, emotional depths.

While she isn’t ”fiddling with her Nord”, Emma can be found playing bass for CHILDCARE, synths for FAULT Issue 11 star Ghostpoet, or giving gawping journalists impromptu tours of her grandfather’s old studio and gallery space near Waterloo.

Watch the brand new, live video for ‘I’ll Stay’ below:

FAULT: Let’s start off with the name. You’ve mentioned previously that you go by ‘Saint Clair’ as a solo artist because that’s your mother’s maiden name. So is it pronounced ‘Sinclair’ or…?

Saint Clair: Busted! It is Scottish, though. My mum’s family is from a small town in the far North called Wick. Sinclair is the name of the local bay and it’s also my brother’s middle name; not to mention the family tartan…

So it IS pronounced Sinclair, then?

Saint Clair: Well, it started off like that. But then I thought that was a bit surname-y and perhaps a little macho (everyone just thinks of the footballers called Sinclair) so probably a little confusing! So I had a bit of a rethink. I’m bilingual in French and I started thinking that it’d be lovely to translate some of my songs into French, and definitely to do some gigs in France. I was French educated and all my cultural references are French, so ‘Sinclair’ became ‘Saint Clair’ – very ‘phonétique‘, as the French would say!

I guess I saw it as a nice way to marry those two influences in my life – my own French cultural upbringing and my mum’s Scottish ancestry. Although my Dad was Polish and I’m not sure how they would pronounce it in Poland…however they want, I guess!

You’re a career musician and have been for many years. What was the turning point for you when you decided to start releasing your own stuff?

Saint Clair: Yeah, I’ve been a professional musician for 10 years. I started out as a jazz singer and used to do a lot of corporate events. You know the drill: big boss gets a promotion and wants to make his function look fancy by hiring a jazz trio. I was doing a lot of that, but also just casual jamming and gigs with other musicians that you meet on the scene in London. We used to play 4, 5 times a week.

Your network expands so much by doing that stuff – but much more on the creative side of things. You’re not really industry-aware at that sort of stage: you’re just making a living and meeting people. That then evolved naturally for me into songwriting. People would come up to me after a gig and say things like, ”oh, I love your voice, do you have any original music that you’re working on?”

That’s when I really started to write – to find a sound and an identity. I started working with a friend of mine, Ben, who’s a great guitarist. We started writing a lot together. The whole first EP is with him, as is ‘Human Touch’ off the second EP. That was really my starting point in terms of understanding who I was as a songwriter.

Did you have that epiphany moment when you just thought, ”I get it: this is what I’m about and this is the sort of music I really want to do”?

Saint Clair: Yeah, I did. When I wrote the song that ended up being my first single – in hindsight, analysing what we’d done, it drew from all the elements that I wanted to have in there. It wasn’t intentional but it created a great template for me in terms of what I wanted my music to be about: it had electronic elements and programmed drums, but also real guitars and loads of vocal harmonies…and plenty of weird chords…

‘Weird chords’? Is that a technical term…?

Saint Clair: Yep, very technical term! But, yeah, in essence my music is very hooky, succinct… I always want to soar. I want the chorus to come and grab you by the balls… In a sense, it’s a very traditional approach to songwriting. It’s very accessible and it should be: it’s pop music in its lyricism and its melody. And then there’s all this other weird shit going on…

You’re a singer, obviously, but what instruments do you play?

Saint Clair: I write mainly on keys. I was playing synths for Ghostpoet for a while. I also play bass for a band called CHILDCARE, who I’ve just been on tour with. We’re also putting out an album in the new year.

What’s the next step for Saint Clair then? You’ve just released the new video, of course, so will you be focusing more on recording or gigging in the near future?

Saint Clair: I’ve recorded the next 5 singles and my sister Tamsin and I have made videos to go with them that are all loosely interlinked. They’re much more abstract than the stuff I’ve done before – all of my videos have been very narrative-driven whereas these are a lot more surreal. They’re a portrait of loss and grief from different vantage points.

The focus so far has been on making the music and finding a coherence within a body of work. Everything is so one-off and track-based nowadays that I wanted to make this more like a mini-album.

What was the inspiration for these new releases?

Saint Clair: After my last EP went out, I found myself reflecting on my archive and realising that a lot of the songs I’ve made were written at different stages of grieving the loss of my Dad. To have that as a through-line – to look back on my head-space during that time…it was almost like having a series of diary entries detailing my reactions in different moments.

How long ago was that?

Saint Clair: Three and a half years now. At the time, you’re so in the throes of it that you don’t really realise what you’re thinking or feeling. Writing becomes a bit of an outlet: something that you do when you feel the need to do so or, at other times, not at all. All those songs that I wrote during that time became a sort of mini-story for me. I spoke to my sister about it and we thought that maybe we could come up with some treatments that would reflect how we both felt (and feel) as an accompanying visual component. My sister’s an actress and the videos ended up sort of like a short film, I guess.

It’s difficult and there’s a lot of trepidation that comes with doing something like that. You know that a lot of your output has been affected by this massive personal loss, and you want to express that but, at the same time, you worry about it coming across like you’re promoting yourself through a particular narrative. Like you’re looking back on something and saying, ‘oh, look – this fits!’ But, actually, it didn’t come from that place at all. It was very organic. Me and my sister are inseparable and it just felt like a really beautiful way to honour what both of us – and our whole family – were going through at that time.

You’re not signed at the moment – what happens if someone comes along with an offer tomorrow?

Saint Clair: I’ve set up my own label for my releases – Dearly Beloved. The logo for the label is actually an old sketch by my Granddad, Feliks Topolski, that I found while trawling through his old work. After basically drowning in his art for most of my life, it struck me that this image was something that I’d never seen before. I just thought that incorporating it into what I was doing would be a really lovely way to introduce that part of who I am.

For now, it just made sense to get a move on. I didn’t want to wait for any additional infrastructure. I just thought: ‘the music’s here, I’m proud of it, I’d like to put it out.’ So that’s what I’ve been doing with Dearly Beloved.

Saint Clair in front of work by her Grandfather, Feliks Topolski

Speaking of your heritage, and I know it’s a completely different medium, but do you feel any pressure attached to your grandfather’s name and accomplishments as an artist?

Saint Clair: Not at all. I think it’s an amazing thing to be able to carry on that artistic legacy. He’s left such an incredible gift to his whole family – something that’s tangible in the work he left behind but also in the ideology of what he was all about: not precious or pretentious, really accessible and open to whoever wanted to be a part of what he wanted to share.

I’m more of a fan than anything else, I suppose. My relationship with him doesn’t really form a huge part of my identity – I was only three when he died. His work is more something that I want to champion. I don’t think it’s been given the platform that it deserves at this stage, so using his artwork or my label seemed like a fitting tribute, as well as a natural thing to do.

Scottish born, London residing singer Saint Clair first got her start gigging as a jazz singer in swanky hotels before opportunities opened up with Marling and Ghostpoet. After providing backing vocals and playing keys for other artists, Saint Clair decided to dive in headfirst into her solo effort. With an affinity for old school records and jazz standards plucked from her earlier musical experiences, Saint Clair’s approach to pop is unlike any other, giving her edge over other artists in the space.

Buoyed along by appositely languid, throbbing production from New York’s Rahm (signed to Terrible Records, also home to Blood Orange, Solange, Empress Of), Saint Clair’s new track “Amnesiac” finds her exploring a sub-conscious world which seems to offer limitless possibilities. Speaking about the track, she says; “‘Amnesiac’ is about desperately anticipating sleep in order to escape reality and live in your dreams instead; being transported to a place where everything is untouched and reimagined. And Rahm captured this world perfectly through his dreamy production.”

“Amnesiac” is a glimpse into Saint Clair’s forthcoming EP ‘D2’ due out in late November and to satiate the anticipation, we asked her to put together a list of some tracks she’s currently listening to.

Rare Silk – Storm“Rare Silk are an American jazz vocal group from the 80’s and this track is the most stunning, lilting antidote to a long stressful day. Let it transport you straight to a deserted beach, piña colada in hand.”

Kamau (ft No Wyld) – Justfayu“Discovered this powerful anthem through watching the brilliant ‘insecure’. It’s a perfect blend of old-school soul with more modern, Outkast-esque moments and a lyric that slowly becomes a hypnotic mantra. The video is well worth a watch too.”

Elliot Moss – Without The Lights“This song is a real dynamic journey flitting between the fragility of the piano and vocal bookends and the synth-heavy electronic production (trap hats and all). The evolving sections and huge climax are reminiscent of James Blake and the track has all the more impact when watched with the truly amazing music video.”

BANKS – Crowded Places“This song, written with Jack Antanoff, is a real stand-alone heart-wrencher about social anxiety. The lyrics are raw and honest, with an almost stream-of-consciousness delivery. I also absolutely love the vocal production on the verses.”

Kiah Victoria – Titivating“Produced by New-York’s RAHM (the man behind my latest single, ‘Amnesiac’), ‘Titivating’ is a laid-back, sparse, eclectic soul banger that wraps itself around Kiah Victoria’s flawless vocals. There’s so much to enjoy throughout this track, with unexpected twists and turns and effortless swag and mischief.”

SEVDALIZA – That Other Girl
‘That Other Girl’ is my favourite track to emerge from Sevdaliza’s ’The Suspended Kid’ EP. Her sound is so bold and fearless and she has such an interesting backstory. The visuals are killer too.

THANDII – Cameo“One of my best mates and an amazing independent musician and writer. ‘Cameo’ is a lush, psychedelic, percussive track with vocals reminiscent of Unknown Mortal Orchestra.”

Vivienne Chi – Vivienne“‘Vivienne’ an intense, self-reflective, biopic that builds unbearable, almost manic tension until the epic chorus hits you between the eyes. The writing is so clever and visceral and has an almost unnerving quality about it; she let’s you into this intimate part of herself, like listening to someone unravel. Musically I feel like Kate Bush and The White Stripes have had a love child.”

Chloe x Halle – Red Lights“Couple of little genius sisters who write, play and produce most of their stuff. Their vocals blend so beautifully and I love how their delivery has an annunciated quality, which gives it almost a classical or old time musical theatre sound. This track is pulsating yet dreamy with beautiful harmonies and super cool understated electronic drums.”

ANDERSON .PAAK – Put Me Thru“This whole record has almost worn the needle down on my vinyl player. ‘Put Me Thru’ is an arbitrary choice as I could have chosen any track off ‘Malibu’. He’s got a bit of a Midas touch as all his collabs (Knxwledge, Dre, Kaytranada, Goldlink) have been amazing too. He’s also a charming and brilliant live musician. Give the rest of us a chance ey Andy?”